The original 2001 program is 8" wide by 3 5/8 " high. It is surrounded by
a silver border,
and bisected in both directions by thin silver lines.

Descriptions of the book are in italics.

Text of inner cover

Behind every man alive stand thirty ghosts, for that is the ratio by which
the dead outnumber the living. Since the dawn of time a hundred billion
beings have walked the planet Earth.

Now this is an interesting number, for by a curious coincidence there are
approximately a hundred billion stars in our local Universe, the Milky
Way. So, for every man and woman who has ever lived, in this Universe
there shines a star.

But every one of those stars is a sun, often far more brilliant and
glorious than the small, nearby star we call the Sun. And many -- perhaps
most -- of these alien suns have planets circling them. So almost
certainly there is enough land in the sky to give every member of the
human species, back to the first apeman, his own private world-sized
heaven -- or hell.

How many of these potential heavens and hells are inhabited, and by what
manner of creatures, we have no way of guessing; the very nearest of them
is a million times further away than Mars and Venus, those still remote
goals of the next generation. But the barriers of distance are crumbling
- one day we shall meet our equals, or our masters, among the stars.

Men have been slow to face this prospect. Increasing numbers, however,
are asking: "Why have such meetings not occurred already, since we
ourselves are about to venture into space?"

Why not, indeed? 2001: A SPACE ODYSSEY offers one possible answer to this
very reasonable question. But please remember: this is only a work of
fiction.

The truth, as always, will be far stranger.

Note -- this is introduction to the novel of 2001. It appears in the
original hardcover, as well as the paperback edition.

Page 1 -- a tissue paper page, with a picture of Bowmanin his helmet in
red. This is the same picture on the cover of the 25th anniversary
video. It is reversed on page 1, on page 2 it can be seen in reverse the
"right way" between the following text.

Page 2 2001: A SPACE ODYSSEY tells of an adventure that has not yet
happened, but which many people -- scientists, philosophers, writers and
engineers -- think will happen, and perhaps very soon. The adventure is
the first contact that the human race -- we on the planet Earth -- will have
with life elsewhere in the Universe. This limitless void, with its
uncountable numbers of suns and planets, is like a gigantic theatre filled
with stages on which the drama of life can be acted out, and on which,
very probably, it has been acted out over the past eons. What are the
beings that inhabit these worlds? Will we be able to recognize them or
will they appear so alien that if we were to see them we would hardly know
them as intelligent life at all? Will they be biological life forms,
machines or even disembodied creatures of pure energy? Will they be

hostile towards us, or will they think that we are so primitive that they
will pass us by and look elsewhere for other beings more nearly equal to
them? If we get a signal from outer space, what should we do about it?
Should we answer and invite visitors, or should we ignore it and continue
to live in the Universe as if we are alone? Or have we already been
visited? Has some extraterrestrial civilization left artifacts for us to
find when we get to the moon or the planet Mars? If we find life in the
Universe -- perhaps beings more intelligent than ourselves -- what will we
come to think of ourselves, our problems, our quarrels and our struggles,
all of which take place on an obscure rocky planet not far from one of
billions of average stars?

For nearly five years, ever since he finished making Dr. Strangelove,
Stanley Kubrick has been fascinated by the theme of extraterrestrial life
and how the challenges it poses could be translated into a film that was
both exciting to see, scrupulously accurate from the scientific point of
view, and as beautiful as modern cinematic art could make it. Science
fiction and science

Full page picture is of Poole in a yellow spacesuit on the way to the
EVA, I think. It is not one of the common stills.

Page 6 -- caption: Astronaut Bowman as he appears to the "eye" of
computer HAL 9000. Full page picture is of Dave holding artwork up to
HAL.

Page 7 -- Caption: Mission Commander Bowman makes an emergency
re-entry from outer space into the spaceship Discovery. Full page picture
of him bouncing into the airlock.

Page 8.-- Caption:Space Station Five orbits above the Earth's
Equator. Not a full page picture -- space station is on left, Earth on
right.

Page 9. Another tissue paper page, with text in a pink box, with
another red box on the right. (The red box is pink on the obverse, with
more text, and the pink box on page 9 is red on page 10.)

Text continues.

fiction films are now commonplace, but most of them deal with impossible
worlds set in a far-off future, filled with death rays and weird
monsters. In MGM's presentation of 2001: A SPACE ODYSSEY, Kubrick has
tried to imagine how things are really going to be a few decades from
now. If computers talk in the film it is because the leading experts in
the computer field in the United States and England, where the film was
made, assured Kubrick that by the year 2001 computers will talk! If in
2001 the surface of the Moon looks like what you would expect it to look
like from the latest rocket pictures, this is no accident, since Kubrick
has been studying these pictures for the last three years to make sure the
Moon looks like the Moon. The real world of science is now so fantastic
that old-fashioned science fiction movies -- with spaceships on strings --
look tame and out of date, especially to the modern generation of movie
goers who have grown up with Sputnik, Cape Kennedy and manned space
flight.

Page 10

2001: A SPACE ODYSSEY is probably the most technically complex movie ever
made. Each scene involving space flight or activity on the Moon took
weeks of preparation. First Kubrick and Arthur C. Clarke, who co-authored
the film and who is regarded as the world's most distinguished and
exciting contemporary science fiction writer, studied technical reports,
NASA photographs, or consulted with professionals in the field, to find
out what was really known about futuristic communications or about what
the Earth will look like when seen from the Moon, or how space suits will
be designed thirty years from now. While these preparations were going
on, Kubrick's office in the MGM studios, looked something like an
engineer's design room. Kubrick has a chess player's instinct for
organization. (in his salad days he was a professional chess player and
played for quarters in Washington Square in Manhattan. He estimated that
he used to earn as much as three dollars a day playing chess, which, as

Page 11

Caption:Scientists on the Moon bus travelling from the Moon base at
Clavius to the site of the mystery in the crater Tycho.

Picture: Halvorsen, I think, with the box of sandwiches as Floyd reads
something on the left.

Page 12

Text continues

he once said, "goes a long way if all you are buying with it is food.")
He is very fond of charts and bulletin boards, and while the technical
studies were taking place, the office walls were crowded with photographs,
drawings of space ships and various pieces of material suggested for space
suits. In neighboring buildings there were crews at work constructing the
Orbiter Hilton, hotel for visitors in transit to the Moon, or a
prehistoric landscape for the scenes involving the dawn of man. The space
ships of the future, in which men will live for months, and maybe years,
will have artificial gravity, which will keep things from flying around,
and which also seems necessary for the health of the astronauts. One way
of supplying gravity is with a centrifuge -- a room that spins so that
things are stuck to the edges just as gravity holds things to the ground.
Kubrick wanted the spaceships to have "centrifugal gravity" so he had the
Vickers-Armstrong Engineering Group build, at a cost of seven-hundred and
fifty thousand

Picture -- left middle -- the pod swinging around, halfway between the
bay and the windows on the control deck.

Caption: bottom left of page.Bowman at the controls of a one-man
space pod.

Picture -- center bottom. Bowman in the pod on the hangar bay before
the first EVA.

Caption on right, referring to picture on page 15, another tissue paper
page:An astronaut prepares to descend from the command module of
Discovery into the pod bay area.

Page 15:

Text continues

dollars, an actual centrifuge, thirty-eight feet in diameter, which spins
on its axis at a maximum speed of three miles an hour. The centrifuge is
big enough so that the astronauts, played by Keir Dullea and Gary
Lockwood, have plenty of room to move around inside of it. In order to
direct them while they were inside, Kubrick installed a closed circuit
television system which enabled him to monitor the activities in the

Picture -- bottom center (in red) -- an astronaut at top of a
ladder.

Page 16 -- text continues.

space ship from the floor of the studio. During the shooting of these
sequences the MGM studio, with the whirling centrifuge, cameras,
television sets, flashing lights and microphones looked a little like a
launch pad at Cape Kennedy. Production activities were so complex that a
special four man operations room was set up to co-ordinate the activities
of the 106 man production unit.

Although Stanley Kubrick is only thirty-nine, the techniques used in 2001
represent his experience of nearly twenty years of movie making. He was
born in New York City on July 26, 1928, the son of a doctor still in
practice. As a high school student his main professional interest was in
becoming a jazz drummer, and in the house near London where he lives now
is a set of drums which he plays from time to time. The normal high
school curriculum didn't much appeal to Kubrick -- he believes that schools
should concentrate on the teaching of "problem solving" and not on rote
memorization of the characters in books and plays -- and after high school
at the age of seventeen, he immediately went to work for Look magazine as
a photographer. For the next four years he worked for Look and the
experience he gained in the techniques of photography have been useful
ever since.Probably no director in films involves himself more deeply in
photographic techniques than Kubrick and the new ideas in photography used
in 2001 could probably fill a text book. While still at Look he started
making documentary films and then experimental feature films such as "Fear
and Desire" and "Killer's Kiss." In making these films Kubrick attended
to the whole production himself, renting and running the cameras,
selecting and directing the actors, writing the script and raising the
money, mainly from relatives. While the early films were praised, movie
companies remained aloof and again during this period Kubrick helped to
support himself by playing chess for quarters. He met James Harris, who
was, like Kubrick, twenty-six at the time, and together they produced "The
Killing," about a racetrack robbery, "Paths of Glory," an anti-war picture
set in the First World War, and "Lolita" which is about Lolita. Then
Harris began a career as a director, and Kubrick began working on Dr.
Strangelove.

Dr. Strangelove is one of the most unconventional films ever made -- a
comedy about thermo-nuclear warfare. Like most great comedies it is
profoundly serious and very sad -- the film ends with the destruction of
the world. Kubrick tends to be somewhat pessimistic and sceptical
sic by nature -- he will not fly even though he is a licensed pilot
- and he is rather dubious about the ability of the human race to survive,
in the long run, its capacity for inventing weapons of mass destruction.
He came to the conclusion that space exploration might be the only thing
that the human race could learn to do which would keep it from blowing
itself up. Once he became interested in a general theme, Kubrick absorbs
information about it from all sides like a sponge and while he was working
with Arthur Clarke on 2001 -- he once estimated that they spent 2,400 hours
writing a script that has become an MGM movie with a running time of two
hours and forty minutes -- he read every book on science and science
fiction that he felt might help him in creating a movie about space. He
talked to innumerable scientists and even hired consultants from the
national space program to make sure that the film was completely
authentic.

2001 is a craftsman's mixture of science and fantasy-fantasy that is all
the more intriguing since it might very well become reality sooner than we
think. After seeing some of the rushes of 2001 in London, Kubrick's old
friend and partner James Harris remarked, "It will be the only picture
ever made after which people who have seen it will see that they have
never seen anything like it -- and they'll be right."

Page 21

Picture -- Clarke standing on the set -- in a small round room, green on
the outside, white on the inside, with anopen sliding door. This strikes
me as being from the Aries 3B, but I'm not sure.

Text:

Arthur C. ClarkeCo-author, with Stanley Kubrick, of the screenplay

Arthur C. Clarke's talent for combining science fact with literary fancy
dates back to a March, 1930 copy of Astounding Stories, an American pulp
magazine he came across while growing up on his father's farm near
Minehead, Somerset, England. Astounding Stories was the Alice in
Wonderland of science fiction, in which the writer's descriptions of life
on other worlds was limited only by their imagination, completely
unhampered by the need for plausibility or concern for mundane fact.
Since Astounding's writers were paid by the word, their conceptions of
extraterrestrial life tended to be highly detailed, always wondrous and
usually terrifying. Before long, young Clarke's lone copy of Astounding
became a complete collection of Astounding, Wonder and Amazing, all of the
same genre.

The scene shifts to the post World War II years when Clarke, ex-farm boy,
now ex-RAF radar officer, is attending King's College in London. In two
years, instead of the usual four, Clarke is graduated with a first-class
honors degree in physics and mathematics, followed by graduate work in
advanced mathematics and applied astronomy. The blending of these two
influences produce stories and articles that are lively, and highly
readable -- the Astounding influence -- but always firmly rooted projections
based on Clarke's up-to-the-minute knowledge of current developments of
our exploding technology. The resulting predictions are not only possible
but probable.

Few living writers reach as many people of differing literary tastes and
ages as does Clarke. His name is familiar to readers of Playboy, Reader's
Digest and Life, and he is generally considered the dean of science
fiction writers. Yet this is the same man who, in a technical paper
written in 1945, originated the concept of communications satellites and,
more importantly, described precisely how they would function -- all a
dozen years before the first Sputnik startled the world with its beeps.

Readers of Clarkian glimpses into the future sometimes suspect that he has
a crystal ball that works. His logic, plausibility, and avoidance of
technical terms that would drive most laymen to the nearest television set
have resulted in his books being printed in some thirty languages -- a
total of about five million copies. His recent "Man and Space" was
published by Time-Life and in 1965 a Life article on communications
satellites won him the Aviation-Space Writers' prize for the best
aerospace reporting in any medium.

For the past twelve years Clarke's hobby has been underwater exploration
along the Great Barrier Reef of Australia and off the coast of Ceylon,
where he has resided since 1956. That doesn't mean, however, that he has
lost interest in outer space. Clarke's personal timetable for the future
includes a trip to the Moon in 1980. He also predicts landings on other
planets by 1980, and colonization of planets in 2000 -- or 2001.

With his portrayal of Bowman, an astronaut of the future, Keir Dullea
achieves two goals -- to work under the direction of Stanley Kubrick and to
star in a role completely different from anything he has done before. On
the heels of widespread praise for his performance as the neurotic,
tortured youth in David and Lisa, Dullea found himself inundated with film
offers -- all to play neurotic, tortured youths. Consequently he hesitated
not a moment when Stanley Kubrick offered him the opportunity to enact the
exact opposite of a disturbed David. As Bowman, Dullea is "tall, stolid
in a way -- square on his two feet, holder of two Phd's; an astronaut, a
scientist and a pilot" -- in sum, the new breed of man that the space age
of 2001 will undoubtedly produce.

Born in Cleveland, Ohio, Dullea considers himself the nearest thing to a
native New Yorker, his family having moved there when he was three. His
screen credits, in addition to David and Lisa, include The Fox, The Thin
Red Line, The Naked Hours and Madame X.

Right column

Gary Lockwood

Before he began production as the star of his recent television series,
"The Lieutenant," Gary Lockwood spent three and a half weeks at the
Quantico U.S. Marine base, watching real-life Marine lieutenants. He
wanted to know how they walked, talked and conducted themselves. This
kind of authentic on-the-spot research wasn't possible for his role of
Poole in 2001: A SPACE ODYSSEY. A real-life Poole, a kind of
super-astronaut, with an education equivalent to that of two college
professors and the physical stamina of a professional football linebacker,
just doesn't exist yet.

For the acting requirements of the role, Lockwood drew on his experience
as a television veteran, on the Broadway stage ("There Was A Little Girl")
and in motion pictures (Splendor In The Grass, Wild In The Country and It
Happened At The World's Fair). For the considerable physical demands of
his role in 2001, Lockwood also was well equipped. A rugged six-footer,
he played football at UCLA and later began his film career as a stunt
man.